I've spent my life seeking out experiences, then, a few years ago, I thought it was time I made some for other people. So armed with my 20 years of research, I asked myself the question: "How can I make the most amazing experience for anybody?" That was my mission with the Waldorf Project.
Chapter Three/Futuro is a vision that took shape from thinking about our planet 30 years in the future, when we are consuming things other than gastronomy. The experiment is: can I have 40 people consume energy and feed each other energy? I decided that in order to get to this stage, we have to go through a two-hour dystopian journey, to strip away the outside world and prepare ourselves.
In an ideal world, I wouldn't give anything away - people would just come and experience the show. However, I have to tease people and the more I give away, the easier it is to entice people to come - but the less of an experience they have. So it's difficult. As an artist, I don't want to say anything, but as a producer, I want to fill the house every night. So I'm reluctantly giving away a few details - although the end I want to keep secret.
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There are more than 30 people based all over the world involved in this production, including a chef, set designer, costume designer, sound specialist and choreographers. I coordinate and direct the disciplines because I know how I want them to interact, then a week before opening, we all come together to evolve the concept further. The thing that makes the experience really work is the dancers – who I prefer to call "the manipulators" – because they stitch it all together. If I want you to feel in pain and the physical environment is not painful, putting somebody there to just stare at you can take you to another place, where it's emotionally painful. Their presence gives me the confidence it will all come together. It's quite an intense performance, but it's definitely multidisciplinary. If you were to cut out any of the elements, such as the music or the lights, it wouldn't be the same.
Today, we are all so sucked into our computers and our devices that senses such as taste, touch and smell are suppressed. I'm definitely taking advantage of that need to experience something real. I want to exploit that and take it to the limit. Within 20 minutes of the experience starting you are being really dominated and people succumb to it very quickly. There's no "alpha" here – we strip that away so you bond with each other and, by the end, when we finally release you, you can put your hand on someone's belly and connect with them.
This is, I think, a very memorable journey that's open to interpretation. I want everyone to have their own experience, which meant creating something anyone can connect with, engage with and interpret as they want. For example, my brief to Max Castaldo, the chef, was that I don't want to recognise any flavours that are related to the real world. I don't want to taste oranges or chicken or fish; I want to taste emotions.
Futuro is kind of an art work, but I prefer to think of it as a movement. It's about creating something neutral that everyone can relate to. It's not my story, it's your story. I just want people to see it.
SEAN ROGG is a British artist working in the field of video, photography and performance. He is artistic director of the Waldorf Project, the third chapter of which is taking place from 10to 20 November 2016. Tickets are £79; waldorfproject.com
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